Catalog: Artists: Ceramics: Pottery (836)

A lot of drama on the undulating surface of this ash glazed Guinomi accented with deep shell impressions by Murakoshi Takuma enclosed in the original signed wooden box titled Sake-nomi. This for a heavy drinker, quite large, perfect for Shochu (perhaps with a splash of water). The undulating dramatic form displaying square lug ears and with a gravity defying glass drip protruding from the rim is propped up on three shaky feet, I feel giddy just looking at it. It is 9 cm (3-1/2 inches) diameter and in excellent condition. Created as part of a restaurant consignment of 50 Guinomi, (for which he created about 70 in total), I was able to get in just after the firing and choose what I felt were a few of the best before anyone had a chance to view. I think this is a unique opportunity to acquire one of his finest pieces.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A fabulous ash glazed Guinomi accented with iron and cobalt by Murakoshi Takuma enclosed in the original signed wooden box. It is 8.5 cm (3-1/4 inches) diameter and in excellent condition. Created as part of a restaurant consignment of 50 Guinomi, (for which he created about 70 in total), I was able to get in just after the firing and choose what I felt were a few of the best before anyone had a chance to view. I think this is a unique opportunity to acquire one of his finest pieces.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

A vibrant double vase covered in signature naïve designs by Yamashita Moe enclosed in the original signed wooden box titled Morinoyoru (Night in the forest). It is 12 x 24.5 x 27 cm (5 x 10 x 11 inches) and is in excellent condition. Her work is filled with joie de vie, and one cannot escape a smile when viewing it. Even the box is painted with a bright green silhouette of the vase, titled and signed in pink!
Yamashita Moe graduated the Kyoto Zokei University of Art in 2004. Her work has been accepted into a number of important Expositions including the Asahi Modern Craft Exhibition and the Rimpa Forever exhibition held at the Museum of Kyoto. She has nearly a dozen solo exhibitions, quite surprising for a young artist, and has participated in more than 30 group exhibitions. According to the artist, “I create works of organic form based on images of plants, creatures, and the scenery of my travels. I strive to make vessels that are fun and make the viewer happy.”

I find this piece captivating, the golden thorns rupturing the rough and blank matte white clay. When I asked the artist about his concept, he explained the clay body is the individual formed by self-image, societal pressure, ego, all the things which constrict our actions and channel our emotions. The thorns are the true inner self bursting out of the surface, irrepressible, they pierce the shell and shine like the sun. Though the visible surface may be flat, rough-hewn, colorful, torn, matte, dark, muddled, the inner self is always golden. In this case, the inner form of glazed clay is covered in pallet-loads of matte raw porcelain, and with the different cooling temperatures, that has cracked and fissured, accentuating the golden thorns rupturing through the surface. It is 14 cm tall (6 inches) and in new condition, directly from the artist this spring enclosed in the original signed wooden box.
Masatomo Toi was born in Aichi Prefecture in 1992, and graduated the Design course at the Tajimi Ceramics Research Facility in 2019. Since he has been developing his series “Thorny” while preparing for a year in Australia (which has been put on hold like all of our lives due to the virus).

A sculpture of assembled ceramic shards by Yorigami Munemi in mottled moon colors enclosed in the original signed wooden box titled Recreations, Futatsu no Hankyu Tai (Two hemispheres). It is 28 cm (11 inches) diameter, 10 cm (4 inches) tall and in fine condition.
Yorigami Munemi was born in Kyoto in 1944, but went to Tokyo to study gardening at the Tokyo University of Agriculture, graduating in 1967. Two years later he apprenticed in ceramics under Yagi Kazuo, founding member of the avant-garde Sodeisha group, which Yorigami then joined. He has also exhibited domestically at the Asahi Togeiten Ceramics and Asahi Craft Exhibition among many others. In 1991 he was awarded gold at the Faenza International Ceramics Exhibition, and the following year exhibited in Cairo Egypt and Melbourne Australia (awarded) as well as being awarded at the Modern Ceramics Grand Prix Exhibition held at the National Museum of History in Taipei, Taiwan. The next year he was accepted into the exhibition “Ceramics Today” held at the Aichi Prefectural Museum. In 2001 His work was part of the exhibition “Kyoto Crafts 1945-2000” which was held at the Tokyo and Kyoto National Museums of Modern Art.

A sculpture of unglazed white porcelain and wood by Yagi Akira enclosed in the original signed wooden box titled Jiki CLOD 92-13 (Porcelain Mass CLOD 92-13) exhibited at Gallery Koyanagi in Tokyo’s fashionable Ginza district in 1992. The original exhibition invitation card, featuring this piece, is included. The stand is 18 inches (46 cm) long an all is in excellent condition.
This name is a must have in any collection of modern Japanese Pottery. Akira was born in Kyoto in 1955, son of avant garde Yagi Kazuo (1918-1979) one of the founding members of Sodeisha. Akira was voted one of the 20 most important living artists by Honoho, Japans premier printed ceramic forum. Works by the artist are held in the British Museum, Victoria Albert Museum, Cleveland Art Museum, Sackler Gallery of the Smithsonian and Tokyo Muesum of Modern Art among many others. He was also the recipient of the Japan Ceramic Society (JCS) award in 1998, one in a long and prestigious list of awards.

An ovaloid hemisphere in deep rust colors by Hashimoto Tomonari enclosed in the original signed wooden box titled, like all his work, “Untitled”. It is 26 cm diameter, 27 cm tall and in perfect condition, directly from the artist this winter. After forming and sculpting the shapes, they are bisque fired, then glazed and fired again at a relatively low temperature (Between 1000 and 1100 degrees, like Raku ware). Then he builds a brick oven around each piece and brings the temperature up to 500 degrees, and adds millet or rice husk, which carbonizes the surface, creating incredible colors and random patterns leaving the viewer with a feeling like rusted or heated metal.
Hashimoto Tomonari was born the son of a sculptor and has felt comfortable with the processes of creation since childhood. He graduated with a masters from the Kanazawa University of Art in March 2017, then relocated to Shigaraki. A visit to his humble home studio is eye opening. Although he comes across as shy in conversation, when you move on to the subject of art, he is all confidence. He was named a finalist for the Loewe Craft Prize in 2019 and is already making international waves around Asia. The V&A recently acquired one piece by him. Get them while you can!

Pristine white clay splashed with rivulets of emerald Seihakuji glaze by Tokuda Junko (Yasokichi IV) enclosed in the original signed wooden box titled Kutani Seiji Hanaire. More commonly we see the pieces made in the vein of her father’s style, and I am proud to be able to offer this piece which is both feminine and quite unique to her. It is 11 cm (4-1/4 inches) diameter, 27 cm (10-1/2 inches) tall and in excellent condition.
Tokuda Junko (Yasokichi IV) was born the first child of future Living National Treasure Tokuda Masahiko in 1961. While on a trip to the United States in her mid-20s, the young Tokuda came across a pot from Jingdezhen, China and drew her back to the fold of the family tradition. She graduated from the Institute for Kutani in 1990 and embarked on her path as an artist. Succeeding the family name in 2010 upon the passing of her father, Junko is one of very few female heads of traditional potting family.

A pair of cups in silver and blue with gold by rising star Ichikawa Toru enclosed in the original signed wood box complete with Shifuku and Shiori. Each is roughly 9.5 cm (4 inches) diameter, 8 cm (3-1/4 inches) tall and both are in new condition. There is quite a contrast, fascinating to hold and view. The silver is quite dry and heavily textured, reminiscent of Same-hada (Sharkskin) or Jakatsu (Scorpion and Snake) wares. However, the celadon is smooth and shiny, in a deep, absorbent color, while the gold shines like only gold can, creating a vivid dialog across the playful surface. To top it off, he has allowed the thin edges to degenerate just a touch, giving them a sense of fragility and impermanence, as if they are about to disappear before your eyes.
Ichikawa Toru was born in Tokyo in 1973. In 2015 he established his current studio in Bizen after 4 years of apprenticeship under another Bizen Outsider, Kakurezaki Ryuichi. He has since developed quite a following, with his shows selling out often within hours.

A bottle decorated with biblical passages by Araki Takako fired at the kiln of Uchida Koichi enclosed in the original wooden box signed by KOichi. It is the introduction of Mary from the book of Luke. The slender bottle itself is very much in the style and color of Koichi, and one might venture to say he had a hand in its making. The biblical passage is the obvious work of Takako, and on bottom is engraved her signature. The vase is 23 cm (9 inches) tall and in excellent condition.
Araki Takako (1921-2004) was born daughter of a Zen priest in Nishinomiya, Hyogo prefecture between the cities of Osaka and Kobe. Araki devoted herself to the family profession of flower arranging until 1952 when she began to study painting. From 1960 to 1961 she studied sculpting in New York before returning to Japan where she studied ceramics at Kyoto Municipal Polytechnique School (today’s Kyoto Municipal Institute of Industrial Technology), and then in different pottery centers. Her reputation for sculptural ceramics was established in 1979 when she received the grand prize at the Nihon Tôgei Ten National Ceramics Exhibition as well as internationally the silver prize and Grand Prize at Faenza International Ceramic Competition, Italy. In 1996 she was awarded the JCS Gold prize, arguably the most important award for a potter, by the Japan Ceramics Society. Her work is held in the Art Gallery of New South Wales (Australia). For more see Soaring Voices-Contemporary Japanese Women Ceramic Artists, 2007.
Uchida Koichi is a ceramic genius bornin Nagoya in 1969. He travelled extensively to various ceramic centers around the world, surveying environments, techniques and the overall culture of pottery before setting up his own studio in Mie in 1992. He eschews the world of competitive exhibition in favor of the intimate world and direct contact of the private gallery. This has not inhibited his reputation, and at the very young age of 34 was held a solo exhibition of his oeuvre at the Paramita Museum. He has also been exhibited internationally in Australia, China, England, India, Italy, Korea, New York, Spain, Taiwan, Thailand and Vietnam among others. For more see New Forms New Voices (New Orleans Museum of Art, 2017).

A Guinomi and Tokkuri by Murakoshi Takuma enclosed in their respective original signed wooden boxes complete with Shiori and Shifuku. The deep well shaped cup rises vertically from the flat base, a dollop of hand crushed foamy feldspar glaze (this one he makes himself) clinging to the rim. The bottle is tall with a smattering of the same yellow green ash on one side, the opposite marked with distinct red hi-iro flame color. The Tokkuri is 16.5 cm (6-1/2 inches) tall, the cup 7.5 cm (3 inches) diameter and both are in new condition.
Murakoshi Takuma is one of those enigmas who simply lives to work with clay. He does not seek to make a living through pottery, but through his primal approach has earned a following which keeps his work in high demand. He was born in Aichi prefecture in 1954 and began his stroll down the pottery path in 1980 under the tutelage of Kyoto potter Umehara Takehira. Favoring very rough Shigaraki glaze, he established his own kiln in 1997 in the Kiyomizu pottery district of Kyoto, then moved to Nagaoka in 2002. Although eschewing the world of competitive exhibitions, he has been picked up by many of Japan’s preeminent galleries, including private exhibitions at the prestigious Kuroda Toen of Tokyo’s Ginza District.

As mentioned before, what I love about the work of Teramoto Mamoru is it is so vivacious and full of life, full of movement. This vase has all that life and movement on a perfect, elegant form. Here also is another dimension, with the pebble textured surface breaking up the reflection of light granting a tactile quality to the silver. It comes enclosed in the original signed wooden box titled Ginasi Hachi (Silver Glazed Bowl) complete with Shiroi and shifuku. The designs of various colors are applied in layers, each abstract from the overlying silver. Signed on the base Mamoru, the vase 32 cm (12-1/2 inches) tall, 17 x 11.5 cm (6-1/2 x 4-1/2 inches) and in excellent condition.
Teramoto Mamoru (1949-present) born in Kanagawa prefecture, initially worked at the Kasama Kobayashi Research Facility after graduating the Tokyo Craft Design Institute. Later he apprenticed under the instruction of both Matsumoto Saichi of Kutani, and Miura Isamu. He established his own kiln in 1976 in Kasama. His works have been displayed and prized at the Nihon Dento Kogeiten (National Traditional Crafts Exhibtion), Nihon Togei Ten (National Ceramics Exhibition) as well as the Shinsaku Ten (New Crafts Exhibition). For more information on this artist see the Catalog from the Nancy Fitz-Gerald Collection. Although Kasama has a long history as a pottery center, when Teramoto established himself there, not many old kilns existed. When asked why he chose the locale, “I thought that would free me from any fixed format and allow me to create freely.”

Every facet is unique on this natural torn shape by Kishimoto Kennin enclosed in the original signed wooden box titled Iga Hanaike ‘Honoka’ or Fire Flower. It is much like a flower in clay, rising up from the bulb, the flowers placed into it the extension of the stalk. It is 32.5 cm (12-3/4 inches) tall and in excellent condition.
Kishimoto Kennin has been working with clay since the 1950s, devouring styles along the way. Shino, Seto, Oribe, Iga and Celadon, all very different approaches which he masters one at a time, extending his unique view of the arts to new realms, and moving on to the next challenge when his appetite and personal genius has been satiated. He was exhibited and prized at the National Japanese Crafts Exhibition (Nihon Dento Kogei Ten), National Ceramics Exhibition (Nihon Togei Ten), Chunichi International Ceramics Exhibition (Chunichi Kokusai Togei Ten) and Asahi Togei Ten among others, and is held in several important international collections. His Iga work is particularly remembered.

A tall celadon vase by Minegishi Seiko complete with shiroi and Shifuku enclosed in the original signed wooden box titled Suiseiji Shinogite Somimi Hanaike (Crystal-Celadon Faceted Two-Handled Vase). It is 26.5 cm (10-1/2 inches) tall and in excellent condition.
Born in 1952 in Saitama, Minegishi Seiko studied under various masters in Nagano, Tochigi and Ibaragi, going solo at the young age of 22. He worked in Kohiki ware initially, but moved to celadon, and is considered one of a select few true masters of that form in Japan today. He moved his kiln from Saitama to Nasu in Tochigi in 1993, and has since exhibited with the Nihon Dento Kogei Ten, Dento Kogei Shinsaku Ten and Nihon Togeiten　among others. For more see issue 21 of Daruma Magazine.

Gorgeous flowing ash covers this small bottle form by Sawa Katsunori enclosed in the original signed wooden box titled Shigaraki Tokkuri complete with shiori and wrapping cloth. An eye of raw terracotta clay, where it rested on its side, is surrounded by thick green crystallized ash. A superb work by this artisan. It is 5 inches (12.5 cm) tall and in new condition.
Sawa Katsunori was born in Shigaraki, son of master potter Sawa Kiyotsugu, in 1980. Growing up among the kilns, he graduated from the Shigaraki Ceramic Research Institute in 2002, then moved to an apprenticeship under the daring artist Suzuki Goro in Mino where he would remain until 2005. He has since concentrated on private exhibitions, of which he has had many including at the elite Kuroda Toen in Tokyo’s Ginza district.

Exquisite kiln effects mark this Ujoyaki Tsubo by Imai Rikei from Aomori Prefecture enclosed in the original signed wooden box named Zuiha (Swirling wave). It is 33 cm tall, 29 cm diameter and in excellent condition. Imai Rikei was born in Aomori Prefecture in 1947, and fires in the Ujoykai traditional manner making use of the worlds longest climbing kiln (guiness book of world records, 103 meters long, you can see it on youtube). He has received a number of awards and exhibited with the Asahi Ceramics Exhibition (Asahi Togeiten) among others. He is the most important artist in this lesser known Northern tradition of Japanese pottery.

An organic cup with sculpted sides covered in crackled pale glaze with random windows of raw and blackened clay by Ishii Takahiro enclosed in the original signed wooden box. It is 10.5 cm (just over 4 inches) tall and in excellent condition. His original forms and unique powerful glaze application strike a chord between nature, tradition and contemporary.
Ishii Takahiro was born in Gunma prefecture in 1977 took up an apprenticeship under the revolutionary Bizen artist Kakurezaki Ryuichi after graduating and has taken graduating the Kyoto Municipal University of Art in 2000 and has taken Japan by storm since opening his own kiln in Hakone in 2006.

Delicate white “Mountain Priest Flowers”, called Yamaboshi in Japanese (Kousa Dogwood) decorate this vase by Shimada Fumio enclosed in the original signed wooden box titled Saiji Yamaboshi-mon Hishigata Bin. It is 25 x 9.5 x 35 cm (10 x 4 x 14 inches) and is in excellent condition. br> Shimada Fumio is undoubtedly one of the greatest artists working in porcelain in Japan today. He was born in Tochigi prefecture in 1948, and his work was accepted into the 21st Nihon Dento Kogeiten National Crafts Exhibition the year before he graduated the Tokyo University of Arts Advanced Studies in 1975. That year his graduation project was purchased by the University Museum, and he was awarded at the 15th Dento Kogei Shinsaku Ten (New Traditional Crafts Exhibition). In 1983 his work was part of an exhibition at the Smithsonian and V&A. From 1985 e took a position at his alma matter. Among a plethora of awards and recognitions his work has been exhibited at the aforementioned plus the Nihon Togeiten National Ceramics Exhibition, among others, and has been seen overseas in the China-Japan-Korea International Ceramics Exhibition, Turkey, Germany, America and Mexico.